Somewhat later, W. Wackernagel declared himself in favour of the two-beat theory for all Teutonic alliterative verse.
He does not enter into the details of the rhythm of the verse, except by pointing out the two-beat cadence of each section.
Only in the last-mentioned poem does the cauda consist of six two-beat sectional verses.
Moreover, the alliteration in all these examples is a further proof of the two-beat character of their rhythm.
Sometimes the two-beat group is first, and sometimes the three-beat one.
In such cases it probably developed out of the two-beat rhythm in the same way as in King Horn.
There are two main classes of simple measures, two-beat measure, and three-beat measure.
A five-beat measure (quintuple) is a compound measure comprising a two-beat and a three-beat one.
A similar diversity of the individual records occurred in the two-beat rhythms.